Smart, bitchy, urban comedy skewers the Manhattan fine art world with great vigor, as a pair of striving, pretentious brothers one an avant-garde composer (Adam Goldberg, surlier than usual), the other (Eion Bailey) a painter of corporate canvases vie for the chilly affection of a trendy gallery owner (Marley Shelton).
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Filmmaker Nikita Mikhalkov (Burnt by the Sun) decided to remake Sidney Lumets social drama 12 Angry Men and recast it as the story of a Russian jury deciding the guilt of a young Chechen man charged with murdering his Russian army officer stepfather.
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Saying 16 Blocks is Richard Donner's least flatulent, most efficient film is saying little, but in his dotage Donner has abandoned his Six Million Dollar Man-trained blunt-force trauma and bends with the flow of the DV-era river, keeping his new movie relatively small-boned, hand-held, on-location savvy, and free of in-jokes.
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Roland Emmerichs pièce de résistance is a CGI orgy of crunching terrain, collapsing landmarks, volcanoes, tidal waves, mega-fireballs, and screaming people with John Cusack as a writer who leads his little flock to the Himalayas while the world crashes down around them.
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Hong Kong director Wong Kar Wai's sequel to In the Mood for Love, an overrated 2000 melodrama about a chaste love affair between a man and woman whose spouses are having an affair.
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Inspired by the exciting real-life story of MIT math whizzes and card counters who decided to outsmart Vegas, 21 is, by contrast, an uninspired, by-the-book thriller thats so predictable not even the actors seem surprised by what happens.
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Filmmaker Claire Denis’ quiet, observational, multi-character portrait of contemporary Paris takes place in that slice of the city where you can go about your business for days and never see a white face.
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Yet another “hyperlink” movie (aka “We’re all in this mess together”), in this case a further remake of Arthur Schnitzler’s 19th-century play Reigen, about a linked circle of international characters finding no happiness in their sexual peccadilloes.
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Classics-division-style remake of the 1957 Glenn Ford "adult Western" makes fine use of actors Russell Crowe (as a dandified brute of an outlaw gang leader), Christian Bale (a poor-but-honest rancher), Peter Fonda (a tough old coot), and a posse full of nasty desperados fussin' and cussin' violently in Old Arizona.
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When the wife (Joanne Whalley) of a cockney tough guy named Colin (Ray Winstone) runs out on him, the tough guy’s mates (John Hurt, Ian McShane, Tom Wilkinson, and Stephen Dillane) gather round to help him plot his revenge.
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Restorative justice programs may offer the best new hope for reducing violence in Oakland schools and the city overall, but their future funding is uncertain.
Restorative justice programs may offer the best new hope for reducing violence in Oakland schools and the city overall, but their future funding is uncertain.
Some Oakland politicians and groups are pointing to research by UC Berkeley faculty as proof that the city needs to add hundreds of police officers, but other studies contradict that conclusion.
Restorative justice programs may offer the best new hope for reducing violence in Oakland schools and the city overall, but their future funding is uncertain.